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1
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The Maturity of Stupidity: A Philosophical Attempt on Flaubert and Others

100%
de Warren N.
Avant
|
2018
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vol. 9
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issue 2
17-42
EN
Although it is commonly held that good sense is the most equally distributed of all things, it is just as commonly acknowledged that we humans excel at stupidity in its boundless varieties. The aim of these reflections is to make a start with a philosophical examination of stupidity, combining both literature, myth, and philosophy. Rather than propose a “theory” or “concept” of stupidity, this exploration charts the archipelago of stupidity in both its wisdom and folly.
2
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Flaubert et la caricature : l’exigence de la modernité

89%
Poyet T.
Quêtes littéraires
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2020
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issue 10
EN
Caricatured at times by his contemporaries, Flaubert provokes extreme reactions. In his Correspondence, he dares to present a plethora of caricatures which suit his moods and his opinions, excelling in hyperbole and emphasis. A word of his own summed it up: « hénaurrrme ». Besides, his most memorable characters are caricatures: Emma – of love, Bouvard and Pécuchet – of stupidity, Félicité of Un cœur simple – of kindness. In Flaubert’s factory, the incarnation is intrinsically linked to deformation, itself degraded into a parody. Because the caricature in Flaubert is part of a nihilistic thought: the novelist participates in a general deconstruction of bourgeois society by an obviously political caricature even if the writer refrains from using the work as a platform, in the name of “autotelism” of art. Basically, it is Flaubert’s modernity that justifies his taste and the use of caricature.
FR
Quelquefois caricaturé par ses contemporains, Flaubert suscite les réactions dans l'outrance, lui qui ose dans sa Correspondance abonder dans la caricature selon ses humeurs et ses opinions en excellant dans l'hyperbole et l ’emphase. Un mot de son cru le résume : « hénaurrrme ». Au demeurant, ses personnages les plus mémorables sont des caricatures : de l'amour avec Emma, de la bêtise avec Bouvard et Pécuchet, de la bonté avec Félicité d'Un Cœur simple… Dans la fabrique flaubertienne, l'incarnation est intrinsèquement liée à la déformation, elle-même dégradée en parodie. Car la caricature chez Flaubert est partie prenante d'une pensée nihiliste : le romancier participe d'une déconstruction généralisée de la société bourgeoise par une caricature évidemment politique même si l'écrivain se défend d ’utiliser l'œuvre comme une tribune, au nom de l'autotélisme de l'art. Au fond, c'est la modernité de Flaubert qui justifie le goût et l'usage de la caricature.
3
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Angielska Bovary. O „The Doctor’s Wife” Mary E. Braddon

88%
Budrewicz A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
43-60
EN
This article is a comparative analysis of Mary Elizabeth Braddon’s The Doctor’s Wife and Gustave Flaubert’s Madame Bovary. Braddon’s novel has been interpreted as an imitation of Flaubert’s. The basis of the analysis is a Polish translation of Braddon’s novel (Żona doktora, „Gazeta Warszawska” 1867). This translation was published earlier than the translation of Madame Bovary (1878). Braddon’s works were quite popular in Poland and they were translated into Polish as well. It is shown that Braddon’s novel was not a copy of Flaubert’s work. The similarities concern the plot (a married woman’s affair) and psychological characterisation of the eponymous character (a girl who is absorbed her books and lives in the world of fantasy). In the crucial scene of the novel, Braddon makes a different choice than Flaubert does: her protagonist, who is in love with a seducer, does not commit adultery. Braddon explained that this was due to Protestantism and platonic concept of love which does not need physical involvement. Braddon shows three stages of the protagonist’s history: 1) her youth filled with books; 2) her unhappy marriage (the wife does not love the husband but the seducer); 3) after her husband’s and lover’s deaths the protagonist receives a large amount of money and begins to perform important social roles. This is how Braddon criticises the educational system of Victorian England and depicts a model which is a form of pedagogy preparing people for practical life.
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IMITACJA LITERACKA W SŁUŻBIE PAMIĘCI KULTUROWEJ – ANALIZA PORÓWNAWCZA NICHIRIN RIICHI’EGO YOKOMITSU I SALAMMBÔ GUSTAVE’A FLAUBERTA

76%
Kelner H.
Porównania
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2018
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vol. 23
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issue 2
317-331
EN
The article Literary imitation in service of cultural memory – the comparative analysis of “Nichirin” by Yokomitsu Riichi and “Salammbô” by Gustave Flaubert subjects the two novels to comparative analysis, showing how Yokomitsu, inspired by Flaubert’s work, imitates his novel and transposes it into the Japanese culture. It describes the similarities between the plots, the characters and stylistic devices – from the style of description through language to the creation of associative links. The latter similarity is shown via linguistic analysis of text bases. The article analyses how all the elements build a textual monument and how they influence the cultural memory of the readers.
PL
Artykuł Imitacja literacka w służbie pamięci kulturowej – analiza porównawcza „Nichirin” Yokomitsu Riichi’ego i „Salammbô” Gustave’a Flauberta poddaje analizie porównawczej dzieła dwóch tytułowych pisarzy. Pokazuje, jak Yokomitsu, zainspirowany twórczością Flauberta, imituje jego powieść, przenosząc ją na japoński grunt. Opisuje podobieństwa fabuły, bohaterów, a także zabiegów literackich – począwszy od sposobu opisu, przez użyty język, po tworzenie połączeń asocjatywnych. To ostatnie podobieństwo zostaje wykazane za pomocą badania językoznawczego z użyciem baz tekstowych. Następnie przedstawione zostaje to, w jaki sposób wszystko wymienione elementy składają się na pomnik tekstowy i jak wpływają na pamięć kulturową czytelników.
5
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Reflets de Paris dans quelques romans français et polonais de la deuxieme moitie du XIXe siecle

76%
Gautier B.
Porównania
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2016
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vol. 19
EN
The themes suggested by prof. B. Sosień’s works: dream, journey and flight, are applied here to the study of Paris, as presented in some well-known French and Polish novels of the second half of the XIXth century. The various modes of representation: romantic, realist and symbolist allow us to understand the Paris literary construction, linked to its rhythm, ritual, modernity and the energy of his people, intent on achieving success.
PL
Artykuł został mi zasugerowany przez badania naukowe prof. B. Sosień dotyczące literatury francuskiej XIX wieku i postanowiłam zastosować jej motywy : sen, podróż i wzlot do niektórych powieści literatury polskiej i francuskiej drugiej połowy XIX wieku. Poszczególne ujęcia reprezentacji : romantyczne, realistyczne czy symbolistyczne pozwalają uchwycić literacką konstrukcję Paryża, związaną także z rytmem, rytuałem, nowoczesnością miasta i energią jego ludzi pragnących osiągnąć sukces.
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Le solide et le volatile. Propos sur la représentation du corps romanesque sur fond de la crise des structures au XIXe siècle (Flaubert, Zola, Mirbeau)

75%
Rachwalska von Rejchwald J.
Academic Journal of Modern Philology
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2020
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vol. 9
357-365
EN
The aim of the article is to analyze the presentation of the novel body in the literature of the second half of the nineteenth century against the backdrop of the crisis of structures that appears along with romanticism and gains strength in the second half of the nineteenth century. This was a time saturated with ideas of socio-biological evolutionism, which promote materialism, entropy, transformation and the disintegration of permanent structures, including socio-economic ones (Marx, Capital). Flaubert, Zola and Mirbeau, faithful to this poetics, subordinate the presentation of the body to the dynamics of change, including images of “volatilization” and decay. These “volatile” and crumbling bodies are at odds with the realist-naturalistic poetics prevailing in the second half of the nineteenth century, dominated by ostentatious materialism. This peculiar transformation of the physical state of matter, from “solid” to “volatile,” may have been interpreted as a symptom of a change in the way reality is presented. As this analysis shows, the volatility of bodies becomes in realist writers an indestructible form of decay and (still) a material form of absence that resists destruction by death. Paradoxically, taking a volatile form, the body does not disappear but reorganizes itself, dematerializing, transforming and reappearing. Both representations of the body and emerging modernity appear as a dynamic, constantly changing process and not as a frozen structure.
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On Animality and Humanity in Literature after the “Darwinian Turn”

75%
Loba M.
Dialogue and Universalism
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2014
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issue 1
209-218
EN
The question of animality haunts the nineteenth and twentieth century literature. Animals appear not only as an allegoric representation but as a reference which troubles the border between humanity and animality. The aim of this paper is to consider how the Darwinian turn has modified the status of animality in modern narratives (the animal seen as an external object before the romantic turn, animal as an internal object). The question of animality as a part of human experience will be analysed on the basis of literary texts (Flaubert and Gombrowicz).
8
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„Przebudzenie” Kate Chopin, czyli „amerykańska Bovary”(?)

75%
Michalski P.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
239-254
EN
This article deals with the question of the so-called Bovarism in The Awakening, the famous novel written by Kate Chopin. When it was first published in 1899, it was universally condemned for its alleged obscenity, just like its French predecessor. It is true, however, that unlike Flaubert’s book, The Awakening did not find itself in the dock, faced with charges of immorality, but the hostile reviews condemned the novel to many decades of obscurity. In this article, I try to return to the question of parallels between the two novels, which can be seen on many levels. Some similarities concern both male and female characters, while others are to do with specific narrative decisions and solutions. The most conspicuous example of the latter is the suicidal death of both heroines.
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L’IMAGE DE LA TOUR D’IVOIRE DANS LA CORRESPONDANCE DE GUSTAVE FLAUBERT (1850–1860)

75%
Krzyżosiak K.
Kwartalnik Neofilologiczny
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2018
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issue 1
10
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La Caricature littéraire : L’Éducation sentimentale de Flaubert

71%
Guinand C.
Quêtes littéraires
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2015
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issue 5
65-77
FR
In the fictional universe of L’Éducation sentimentale, caricature is practiced in several ways by some characters who design caricatural portraits, play the role of famous caricatural characters and perform literary caricature in their press releases. Present and produced in the fictional universe, Flaubert also integrates it in the narration. He builds a literary caricature on the basis of graphical caricature. Based on the principle of distance, he highlights the gap between the pretensions of the characters and the paltry result of their efforts. He restores the device of the framework of lithography, in which the figures move like puppets, on the model of ball scenes by Gavarni. He then adds a caption that emphasises their comical scope. Finally, he skillfully practices caricatural portrait on the model of Daumier through the accentuation and reduction of traits. Characters and narrator thus fashion and allow a satirical view of society through the use of caricature. However, Flaubert’s "romanesque" poetics aims not to conclude. As such, the sharp judgment specific to caricature is not satisfactory to him. The author will redirect the intention in the wake of Daumier in order to mitigate its satirical scope and develop its ludic aspect. He will thereby superimpose the different voices of the characters to preserve the narrative’s polyphony. Flaubert as well as Daumier take some distance in order to avoid any definitive moral conclusion.
11
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Les puschts, les bardaches, les « almées… mâles » : une caricature de la femme orientale ou un autre rêve d’Orient ?

71%
Sokołowicz M.
Quêtes littéraires
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2020
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issue 10
EN
The present paper focuses on some representations of male Oriental dancers who dance dressed as women. It tries to answer the question whether those representations form a caricature of the Oriental woman or if it is another, perverse, Oriental dream. The first part of the paper presents the Oriental male dancer and shows how he was perceived in the Middle East and in Europe. The second part discusses the critics of male dancers’ behaviour in the travelogues by Jean Potocki and Vivant Denon. The three following sections analyse three examples of descriptions dating from the 1840-1850 by Gérard de Nerval, Gustave Flaubert and Théophile Gautier. It turns out that, with time, the caricature becomes less obvious and the descriptions are more and more aesthetic. One can no longer only mock and condemn the male dancers, a new perverse dream seems to be born.
FR
La contribution analyse quelques représentations des danseurs orientaux qui dansent habillés en femmes et cherche à répondre à la question de savoir si ces représentations forment une caricature de la femme orientale ou s'il s'agit d'un autre rêve pervers d'Orient. La première partie présente la danseuse mâle et montre sa perception en Orient et en Europe. La seconde partie évoque la critique du comportement des danseuses mâles présente dans les relations de voyage de Jean Potocki et de Vivant Denon. Les trois dernières parties analysent trois descriptions datant des années 1840-1850, créées par Gérard de Nerval, Gustave Flaubert et Théophile Gautier. Il s'avère qu'avec le temps, la caricature devient moins évidente qu'auparavant et les descriptions s'esthétisent. Il n'est plus possible de ne faire que se moquer des danseuses mâles ou les condamner. Un nouveau rêve pervers d'Orient semble faire son émergence.
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Les origines de la vie : sciences, légende et poésie

44%
Wanlin N.
Studia Romanica Posnaniensia
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2020
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vol. 47
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issue 4
17-28
EN
Faced with the scientific hypotheses of the 18th and 19th centuries on the origins of life, some authors try to maintain the creationist imagery while others develop representations of the gradual emergence of life forms from inert matter (heterogeny). The divide is not between the scientific and the literary: what is most remarkable is the pooling of all resources, the borrowing from various disciplines to put words to the emergence of life. This mix of science, poetry, myth and observation, which can be likened to the category of the legendary, shows that science and the humanities dialogue and interpenetrate despite ideological and religious obstacles, and recalls the unity of the cultural whole.
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